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New essays providing an up-to-date picture of the engagement of
artists, philosophers, and critics with Kafka's work. The topic of
"Kafka after Kafka" is a fascinating one: the engagement of
artists, philosophers, and critics in dialogical exchange with
Kafka's works. The present collection of new essays highlights the
engagement of lesser knownartists and commentators with Kafka, and
represents those who are well known, such as Arendt, Blanchot,
Nabokov, and Coetzee, from new perspectives. The eleven essays
contained here represent the most recent scholarly engagements with
this topic. An essay on major trends in current Kafka criticism
provides background for several essays on novelists, philosophers,
and critics whose relationship to Kafka is not very well known. A
section devoted to Kafka from an Israeli perspective includes
artists not commonly known in the US or Europe (Ya'acov Shteinberg,
Hezi Leskly, Sayed Kashua), as well as an essay on the recent trial
in Israel regarding the fate of Kafka's literary legacy. A final
section addresses important contemporary approaches to Kafka in
film studies, animal studies, the graphic novel, and in postmodern
culture and counterculture. Contributors: Iris Bruce, Stanley
Corngold, AmirEngel, Mark H. Gelber, Sander L. Gilman, Caroline
Jessen, Tali Latowicki, Michael G. Levine, Ido Lewit, Vivian Liska,
Alana Sobelman. Iris Bruce is Associate Professor of German at
McMaster University. Mark H. Gelber is Senior Professor and
Director of the Center for Austrian and German Studies at
Ben-Gurion University.
The idea of a visual manifestation of the work of Franz Kafka was
denied by many-first and foremost by Kafka himself, who famously
urged his publisher to avoid an image of an insect on the cover of
Metamorphosis. Be that as it may, it is unlikely that such a
central progenitor of twentieth-century art and thought as Kafka
can be fully understood without reference to the revolutionary
artistic medium of his century: cinema. Mediamorphosis compiles
articles by some of today's leading forces in the scholarship of
Kafka as well as film studies to provide a thorough investigation
of the reciprocal relations between Kafka's work and the cinematic
medium. The volume approaches the theoretical integration of Kafka
and cinema via such issues as the cinematic qualities in Kafka's
prose and the possibility of a visual manifestation of the
Kafkaesque. Alongside these debates, the book investigates the
capacity of cinema to incorporate and express the unique qualities
of a Kafkaesque world through an analysis of cinematic adaptations
of Kafka's prose, such as Michael Haneke's The Castle (1997) and
Straub-Huillet's Class Relations (1984), as well as films that
carry a more subtle relation to Kafka's oeuvre, such as the
cinematic works of David Cronenberg, the films of the Coen
brothers, Chris Marker's "film-essay," Charlie Chaplin's tramp, and
others.
The idea of a visual manifestation of the work of Franz Kafka was
denied by many-first and foremost by Kafka himself, who famously
urged his publisher to avoid an image of an insect on the cover of
Metamorphosis. Be that as it may, it is unlikely that such a
central progenitor of twentieth-century art and thought as Kafka
can be fully understood without reference to the revolutionary
artistic medium of his century: cinema. Mediamorphosis compiles
articles by some of today's leading forces in the scholarship of
Kafka as well as film studies to provide a thorough investigation
of the reciprocal relations between Kafka's work and the cinematic
medium. The volume approaches the theoretical integration of Kafka
and cinema via such issues as the cinematic qualities in Kafka's
prose and the possibility of a visual manifestation of the
Kafkaesque. Alongside these debates, the book investigates the
capacity of cinema to incorporate and express the unique qualities
of a Kafkaesque world through an analysis of cinematic adaptations
of Kafka's prose, such as Michael Haneke's The Castle (1997) and
Straub-Huillet's Class Relations (1984), as well as films that
carry a more subtle relation to Kafka's oeuvre, such as the
cinematic works of David Cronenberg, the films of the Coen
brothers, Chris Marker's "film-essay," Charlie Chaplin's tramp, and
others.
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